Jun 23, 2013

As the onscreen and offscreen lover of both neurotic heeb Woody Allen and Italian stallion Al Pacino, Nordic actress Diane Keaton has certainly shown a penchant for quasi-miscegenation and seemingly mismatched romances with short, swarthy off-white fellows, but none of her real-life nor fiction love affairs compared to the ones featured in the absurdly underrated flick Looking for Mr. Goodbar (1977) directed by subversive Jewish-American auteur Richard Brooks (Elmer Gantry, In Cold Blood). Based on the 1975 novel of the same name written by Jewess novelist Judith Rossner about the real-life brutal murder of Roseann Quinn, a 28-year-old New York City schoolteacher who led a deleterious double life as a pill-popping bar whore whose wild and wanton behavior led to her grizzly and premature death, Looking for Mr. Goodbar is a dark yet sometimes humorous melodrama about an idealistic lapsed Catholic Irish-American girl who, when not teaching deaf Negro children as a brainwashed McLiberal, is screwing random Guidos and middle-aged Judaic fellows she picks up at the bar. A rare (and arguably, unintentional) depiction of the decidedly disastrous effects the so-called “new left” and counter-culture movements had on white Americans that was written and directed from the perspective of members of the chosen amongst god’s chosen, Looking for Mr. Goodbar is, not unsurprisingly, virtually unknown today and has yet to be released on dvd despite featuring such big name actors and actresses like Diane Keaton and Richard Gere. Belonging in good company with other such great culturally pessimistic celluloid works from the 1970s like Joe (1970) directed by John G. Avildsen, Death Wish (1974) directed by Michael Winner, Taxi Driver (1976) directed by Martin Scorsese, and Paul Schrader’s Hardcore (1979), Looking for Mr. Goodbar follows the moral degeneration of an Irish-American chick who, after falling in love with and being defiled by her married Jewish college professor who subsequently dumps her goy gal ass, turns into an alcohol-addled, pill-popping whore who screws sleazy philistine fellows when she is not wasting her life being a bleeding heart liberal who devotes her time to teaching deaf multicultural kids, despite essentially loathing her own family. An exceedingly enthralling, if not oftentimes infuriating, depiction of a naïve girl who essentially has a hole burnt into her soul after too much loony leftist brainwashing in college and being used as a cheap thrill by a Hebraic college professor who sees her nothing more as a sexy yet stupid Shiksa, Looking for Mr. Goodbar is like a well meaning after-school special on the ills of Marcusian madness and the ethno-masochistic and xenophiliac do-gooder white slaves and self-sacrificing nihilists it creates.

The psychologically crippling self-loathing of Irish-American Theresa Dunn (Diane Keaton) started at a young age when she developed scoliosis as a young girl and was forced to wear a rather unflattering full-body cast to help straighten her back. The daughter of a hardworking traditional Irish Catholic man (Richard Kiley) who is repelled and angered by his baby girl’s would-be-rebellious leftist politics she was dogmatically indoctrinated with in college, Theresa certainly does not suffer from an Electra complex as she falls in love with a sleazy and self-satisfied Jewish college professor named Martin (Alan Feinstein), who does not think twice about dumping the dumb girl after the school year ends. Naturally, Theresa develops a rather pessimistic and self-loathing outlook on life after the overly intellectual Israelite breaks up with her, but being a victim of a “New Left” education (symbolically taught to her by the Semitic man who literally and figuratively screwed her over), she believes she must fulfill the most holy and righteous of causes by turning poor black deaf children into intellectual heavyweights, even though she treats most of her own biological family members with disdain. An unconsciously suicidal ice queen with no real personal plans for the future aside from slaving away to the public system as a selfless servant of ghetto blacks who see her as a condescending and self-righteous nuisance, Theresa makes sure she will never have a family of her own by nonsensically having a hysterectomy, telling the doctor she wants “no kids.”

Eventually, Theresa begins living a second life and becomes a regular fixture at local bars and clubs and starts a purely sexual relationship with a dumb wop named Tony (Richard Gere), who enjoys doing pushups while high on speed while wearing nothing more than a leather-fag-esque jockstrap. Theresa also begins dating a nice but nerdy welfare case worker named James (William Atherton), the sort of man she would have married and had kids with were she not so positively sexually depraved and nihilistic. While James falls in love with Theresa and will do anything for her, the McBitch just cannot get enough of rough sex with retarded Guido Tony, who is at least intelligent enough to arrive at the insight, “I don’t believe it…teacher of little kids cruising crummy bars…Jesus Christ, no wonder the country is so screwed up.” Naturally, Tony eventually smacks Theresa around and eventually gets her arrested for drug possession, thus leading to the inevitable end of the debauched pseudo-romantic relationship. While James does everything he can to declare his love and respect for Theresa, the Irish lass cannot help but give away her ass to degenerates at her favorite bar. One night, Theresa picks the wrong guy and it ultimately results in her being brutally raped and slashed to death. Looking to get screwed one more time before midnight on New Year's Eve, Theresa hooks up with a deranged ex-con and closet-case homo named named Gary (Tom Berenger), who has just had a faggy lover’s spat with his gay lover. When Gary fails to “rise to the occasion” after going back to the Irish-American gal’s apartment, he goes on a seemingly pointless rant about how “in my neighborhood, if you didn’t fight you were a fruit…In prison, if you didn’t fight, you spread ass.” Not unsurprisingly, Theresa attempts to throw psychopathic gay boi Gary out of her apartment, but it is only at this point that he is finally able to penetrate her, first with a knife and then with his penis. In the end, Theresa “lived by the dick and died by the dick,” as a result of turning her back on the important lessons she learned being brought up in the Catholic Church.

Aside from featuring the cinematic exquisiteness of LeVar Burton of Reading Rainbow fame playing a ghetto thug who literally busts Richard Gere’s balls, Looking for Mr. Goodbar also makes for a striking and stern indictment of the self-absorbed narcissism and nihilistic hedonism of the baby boomer generation, the first generation brought up on television and arguably the most spoiled generation in all of human history. Hopelessly brainwashed by the quasi-Marxist Judaic swill she was infected with in college and defiled by an arrogant and pretentious Jewish professor she clearly had deep yet delusional respect for as opposed to meeting a man of her own racial and cultural persuasion who would have treated her right and she could have started a family with, Theresa, like many people of her generation and subsequent generations of European Americans, is essentially in a state of perennial childhood as a girl who never grew up and accepted responsibility, but instead drowned her misery in cheap beer and untermensch semen. Aside from the fact it features Fellini-esque dream-sequences and avant-garde montages, a film like Looking for Mr. Goodbar could have never been made in contemporary Hollywood due to its no bullshit critique of degenerate counter-culture values and liberal education and I would not be surprised if this film has yet to be released on DVD for these very reasons. The fact that the film was penned and directed by Jews makes the motives behind Looking for Mr. Goodbar seem all the more dubious as a sort of “Annie Hall from Hell” and degenerate Philip Roth inspired melodrama with a tinge of Jud Süß (1940) swooning over a beauteous goy Shiksa who is slowly but surely spiritually, emotionally, and physically defiled by alien politics and men, both of which stunt her ability to grow into a nice Irish Catholic girl and instead lead to her demise as a victim of a self-loathing sodomite, her virtual Jungian animus, who she would have never met had she not developed a propensity for picking up perverts in seedy bars after giving up on real romantic relationships in general. Stating such pseudo-empowerment feminist vomit like, “I’m my own girl. I belong to me,” Theresa ultimately proves her idiotic independence by setting herself up on a slippery slope of soulless sex and mind-numbing drugs, with her last act of intercourse symbolically climaxing in her death. While Looking for Mr. Goodbar is a film that has been known to be quite irksome for leftist and feminist types, it certainly confirms the feminist mantra/bumper sticker, “Well behaved women rarely make history.”

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SS is a postmortem Occidental Sinema site led by two admittedly vicious Nordish libertine cinephiles. We ruthlessly, yet charmingly rip at the bowels of the prissy populous PC-beast; offering the more discerning reader a piece of our eclectically refined minds and our uncompromisingly distinct weltanschauungs. At Soiled Sinema, we believe in cinematic diversity and equal-opportunity film criticism. Do yourself a favor by allowing us to gouge at your Hollywood-lobotomized gray matter, as we have a pleasant plethora of svelte and seminal writings on films we have come to wholeheartedly and fanatically cherish, as well as expertly diagnosing loathsome cinematic abortions worthy of total celluloid deterioration.